Andrew's Opera
You can find and sort all reviews (including blogs and listservs) at the opera reviews home page.
Lunicidal Lucia mid-season. Show saved by Pacific tenor.
Lucia di Lammermoor. Sydney Opera House, Wed 27 August 2008
I don’t often do mid-season reviews, but this performance was notable, albeit in adversity. Eric Cultler as Edgardo was indisposed with a winter virus and new Kiwi/Islander tenor Benjamin Makisi took the role.
He is a substantial man with a substantial talent. He is an imposing figure on stage, also being quite tall. He has singular big-eyed good looks, being of Samoan and Tongan ancestry we were informed in the notes supplied. His voice is silky and even up the register with a ringing top which he only ‘let rip’ momentarily once towards the end of the first act duet with Ms Matthews, possibly touching a high C or even E flat. He takes centre-stage in the Act III Scene 2 cemetery scene, and he did not disappoint. Right at the end as he stabs himself a loose-fitting wig was saved by a quick wit. And he did all this without a central prompter - this was one role for which Sutherland did NOT need a prompter ... and the original classic John Copley production was in the Concert Hall.
I do not understand why Mr Makisi was not being used for the role of Arturo. Kanan Breen struggles valiantly as he did with the Cassio character recently. Such roles are clearly inappropriate for his voice, and there are more suited singers like Mr Makisi on the payroll just waiting ‘in the wings’. I note that Mr Makisi is not on the company web-site. Good tenors are so rare that this stellar performance should surely be recognised as Mr Makisi’s ‘big break’.
Jose Carbo sang and acted superbly as Enrico, the ambitious brother. His first act aria and cabaletta were breathtaking. He has a way of dramatic ‘freeze-framing’ which makes each movement or expression, when it comes, all the more meaningful.
Emma Matthews has come into her own as Lucia under Richard Bonynge’s baton. Her mad scene was a tour-de-force the likes of which we have not seen or heard since the Sutherland days. In some respects she was better, even with a smaller voice. While she ‘copies’ the Sutherland vocals closely, she plays a quite different Lucia dramatically. She is more a character of ‘pity’ than of fear and lunacy which Sutherland played. And this is appropriate as she is only half the size. Her terminal high notes were accurately placed, beautiful in quality and as long as I have ever heard - and yet were still tasteful. Her final limp-fall collapse down the central stairs was spectacular and her performance received a (partial) standing ovation.
The management of any organisation involves the making of large numbers of decisions, each ultimately aimed at the same thing, maintenance of standards and possibly improving them. So, while management should be congratulated on retaining Mr Makisi, one wonders about many other decisions.
The current media debate about artistic standards is one that has to be had. With so many participants having vested interests one way or the other, an independent review is what is needed in my view. The contrast could not be more stark between previous periods’ high profile artists (Botha, Connell, Schorg, Mitchell, McIntyre, Cole, Tsau, Marton, Vaness, Glossop, Milnes, Tourangeau, Horne, Pavarotti, Te Kanawa, Loringar, Resnick and Marenzi) and recent promises (Meirion, Berkeley Steele, Todd-Simpson, Owens and other less-than-satisfactory encounters). Certain other notable overseas artists came for less popular ‘connoisseur’ operas, and were thus not heard by many regular subscribers. Something has to “give”.
Comments by Andrew Byrne ..
http://www.redfernclinic.com/opera/critique/blog/
I don’t often do mid-season reviews, but this performance was notable, albeit in adversity. Eric Cultler as Edgardo was indisposed with a winter virus and new Kiwi/Islander tenor Benjamin Makisi took the role.
He is a substantial man with a substantial talent. He is an imposing figure on stage, also being quite tall. He has singular big-eyed good looks, being of Samoan and Tongan ancestry we were informed in the notes supplied. His voice is silky and even up the register with a ringing top which he only ‘let rip’ momentarily once towards the end of the first act duet with Ms Matthews, possibly touching a high C or even E flat. He takes centre-stage in the Act III Scene 2 cemetery scene, and he did not disappoint. Right at the end as he stabs himself a loose-fitting wig was saved by a quick wit. And he did all this without a central prompter - this was one role for which Sutherland did NOT need a prompter ... and the original classic John Copley production was in the Concert Hall.
I do not understand why Mr Makisi was not being used for the role of Arturo. Kanan Breen struggles valiantly as he did with the Cassio character recently. Such roles are clearly inappropriate for his voice, and there are more suited singers like Mr Makisi on the payroll just waiting ‘in the wings’. I note that Mr Makisi is not on the company web-site. Good tenors are so rare that this stellar performance should surely be recognised as Mr Makisi’s ‘big break’.
Jose Carbo sang and acted superbly as Enrico, the ambitious brother. His first act aria and cabaletta were breathtaking. He has a way of dramatic ‘freeze-framing’ which makes each movement or expression, when it comes, all the more meaningful.
Emma Matthews has come into her own as Lucia under Richard Bonynge’s baton. Her mad scene was a tour-de-force the likes of which we have not seen or heard since the Sutherland days. In some respects she was better, even with a smaller voice. While she ‘copies’ the Sutherland vocals closely, she plays a quite different Lucia dramatically. She is more a character of ‘pity’ than of fear and lunacy which Sutherland played. And this is appropriate as she is only half the size. Her terminal high notes were accurately placed, beautiful in quality and as long as I have ever heard - and yet were still tasteful. Her final limp-fall collapse down the central stairs was spectacular and her performance received a (partial) standing ovation.
The management of any organisation involves the making of large numbers of decisions, each ultimately aimed at the same thing, maintenance of standards and possibly improving them. So, while management should be congratulated on retaining Mr Makisi, one wonders about many other decisions.
The current media debate about artistic standards is one that has to be had. With so many participants having vested interests one way or the other, an independent review is what is needed in my view. The contrast could not be more stark between previous periods’ high profile artists (Botha, Connell, Schorg, Mitchell, McIntyre, Cole, Tsau, Marton, Vaness, Glossop, Milnes, Tourangeau, Horne, Pavarotti, Te Kanawa, Loringar, Resnick and Marenzi) and recent promises (Meirion, Berkeley Steele, Todd-Simpson, Owens and other less-than-satisfactory encounters). Certain other notable overseas artists came for less popular ‘connoisseur’ operas, and were thus not heard by many regular subscribers. Something has to “give”.
Comments by Andrew Byrne ..
http://www.redfernclinic.com/opera/critique/blog/
Orlando - Handel. Sydney Opera House. Monday 18th August 2008
Dear Colleagues,
This Monday night Gala demonstrated some serious points raised in the media in recent days. There is just nobody in charge of this ship and there are doubts as to her seaworthiness to my mind. The seven o’clock starting time was obviously a blunder as the opera had been pared down by 50 minutes, thus ending at 9.35pm, an early night indeed! I don’t think this is Handel’s greatest work - at least as it is presented here. That the second night is on Wednesday is also a serious deviation from long-time theatrical rules where 2 rest days are normally allowed between opera performances.
Handel wrote highly inspired and memorable operatic scenes as well as a lot of his own original orchestral and vocal continuo some might term “wall-paper”. Orlando seems to have more of the latter than the former, starting out with a ‘skipping-time’ overture. It might seem unfair to the singers who each had difficult vocals … yet none reached the heights of his immortal pieces like “Lascia, io piango” (Rinaldo), “Ombra mai fu” (Xerxes) or “V'adoro, pupille” (Julius Caesar), “Iris hence”; “Sleep why dost”, “Where ere you walk” (Semele, his last opera), not to mention “Tornami a vagghegia” (Alcina). While Orlando’s ‘mad scene’ is a most spectacular aria technically, it does not have the invention of melody, phrasing and custom ‘pauses’ of any of the above to my ear. The opera is certainly an interesting piece of musical archaeology … and it may even be a truly great opera in its original form - the Sydney audience may never know. Apparently it only received 10 performances in 1733 and was not revived until 1959.
There was no regular brass section in this baroque orchestra (two horns appeared at intervals). There was no chorus. There is no part for solo tenor or baritone voice in this opera. Orlando was clearly written as a show-piece for the male divo yet this production uses a contralto, Sonia Prina for the hero. The soldier Medoro is sung by Tobias Cole in falsetto range, a role originally written for mezzo-soprano according to Wikipedia. Dressed convincingly as a man, Ms Prina’s mid-range coloratura was indeed phenomenal and one wonders what other vocal music of hers was omitted in the savage cuts. It is unlikely to be 50 minutes of da capo repeats but it is hard to believe that there was anything ‘too difficult’ for Ms Prina either. Rachel Durkin sang ‘regally’ throughout as Angelica but without raising any goose bumps on this listener’s old flesh.
Richard Alexander seems miscast in the ghost role, not showing his substantial talents in their best light. Some of the lowest notes were just not in the voice. This ‘Sarastro’ type role needs a bigger, deeper basso profundo voice, especially when he is the only character who is not some sort of soprano. Hye Seoung Kwon seemed under-powered and retiring as the shepherdess. One wonders who is making these odd casting decisions or are they just distant copies of others’ decisions elsewhere (Salzburg Festival, for instance).
The opera opens in a war office with a writing desk, table lamp, globe of the world and large wall map. The next scene saw the entire set replaced by the wall map, hugely enlarged. This then broke into columns, openings and walls at various depths to create and interesting and diverse setting for progress of the story. The confusing, cross-gender dramatis personae all taking cupid’s aim for each other was incorporated into a quirky and charming production. Orlando was dressed in a beautiful tan coloured leather suit. He/she suddenly fainted to the floor in the first scene creating dramatic tension from the very start … as well as creating a flaw in the great general’s persona. The direction by Justin Way was sympathetic and original with just enough of the unexpected.
Because of the shepherd connection, there were models of sheep on stage throughout the opera. The cute idea became laboured when they started to multiply and fly, as if to ignite some distant Greek cauldron! At one stage the text promised goats but these did not materialise, mercifully. At one point there were ‘stars above’ which must have been designed by some deprived city soul who had never actually seen the sky at night and how beautiful it actually is. The last act featured a massively enlarged electric lamp pointing our way … then a miniature of the original setting … all very clever if not entirely original (Hansel and Gretal) nor particularly meaningful. Fantasy is fun, but an opera is opera - and that means voice and melody.
Singing is all around us in our daily lives … but grand opera is the Olympics of singing. It is the loudest, highest, finest and most original performers who should win out and be heard again. We often see operas in concert ... but even with the cleverest production, we never see opera dramas without singing! The first job of an opera singer is to be heard up the back. If that voice is still beautiful and expressive, this is a measure of success. Not all of the singers in Orlando fitted this category. If management either sat up the back more often themselves or else interviewed subscribers who do, we may have less criticism and more logical decisions on repertoire and who should sing it.
Our brochure promised ‘early music specialist’ Trevor Pinnock as conductor. There was no explanation given on the night that maestro was Paul Goodwin who is not even on the company’s web site. He led the small, specialist orchestra proficiently. I wondered if he was responsible for all the cuts or if it was a joint vivisection.
For me, Orlando remains a city in Florida. This Monday evening Opera Gala was not an auspicious event and fault must be sheeted back to management. Musical director, Richard Hickox has not been sighted for months, which is a fault.
Comments by Andrew Byrne .. http://www.redfernclinic.com/opera/critique/blog/
This Monday night Gala demonstrated some serious points raised in the media in recent days. There is just nobody in charge of this ship and there are doubts as to her seaworthiness to my mind. The seven o’clock starting time was obviously a blunder as the opera had been pared down by 50 minutes, thus ending at 9.35pm, an early night indeed! I don’t think this is Handel’s greatest work - at least as it is presented here. That the second night is on Wednesday is also a serious deviation from long-time theatrical rules where 2 rest days are normally allowed between opera performances.
Handel wrote highly inspired and memorable operatic scenes as well as a lot of his own original orchestral and vocal continuo some might term “wall-paper”. Orlando seems to have more of the latter than the former, starting out with a ‘skipping-time’ overture. It might seem unfair to the singers who each had difficult vocals … yet none reached the heights of his immortal pieces like “Lascia, io piango” (Rinaldo), “Ombra mai fu” (Xerxes) or “V'adoro, pupille” (Julius Caesar), “Iris hence”; “Sleep why dost”, “Where ere you walk” (Semele, his last opera), not to mention “Tornami a vagghegia” (Alcina). While Orlando’s ‘mad scene’ is a most spectacular aria technically, it does not have the invention of melody, phrasing and custom ‘pauses’ of any of the above to my ear. The opera is certainly an interesting piece of musical archaeology … and it may even be a truly great opera in its original form - the Sydney audience may never know. Apparently it only received 10 performances in 1733 and was not revived until 1959.
There was no regular brass section in this baroque orchestra (two horns appeared at intervals). There was no chorus. There is no part for solo tenor or baritone voice in this opera. Orlando was clearly written as a show-piece for the male divo yet this production uses a contralto, Sonia Prina for the hero. The soldier Medoro is sung by Tobias Cole in falsetto range, a role originally written for mezzo-soprano according to Wikipedia. Dressed convincingly as a man, Ms Prina’s mid-range coloratura was indeed phenomenal and one wonders what other vocal music of hers was omitted in the savage cuts. It is unlikely to be 50 minutes of da capo repeats but it is hard to believe that there was anything ‘too difficult’ for Ms Prina either. Rachel Durkin sang ‘regally’ throughout as Angelica but without raising any goose bumps on this listener’s old flesh.
Richard Alexander seems miscast in the ghost role, not showing his substantial talents in their best light. Some of the lowest notes were just not in the voice. This ‘Sarastro’ type role needs a bigger, deeper basso profundo voice, especially when he is the only character who is not some sort of soprano. Hye Seoung Kwon seemed under-powered and retiring as the shepherdess. One wonders who is making these odd casting decisions or are they just distant copies of others’ decisions elsewhere (Salzburg Festival, for instance).
The opera opens in a war office with a writing desk, table lamp, globe of the world and large wall map. The next scene saw the entire set replaced by the wall map, hugely enlarged. This then broke into columns, openings and walls at various depths to create and interesting and diverse setting for progress of the story. The confusing, cross-gender dramatis personae all taking cupid’s aim for each other was incorporated into a quirky and charming production. Orlando was dressed in a beautiful tan coloured leather suit. He/she suddenly fainted to the floor in the first scene creating dramatic tension from the very start … as well as creating a flaw in the great general’s persona. The direction by Justin Way was sympathetic and original with just enough of the unexpected.
Because of the shepherd connection, there were models of sheep on stage throughout the opera. The cute idea became laboured when they started to multiply and fly, as if to ignite some distant Greek cauldron! At one stage the text promised goats but these did not materialise, mercifully. At one point there were ‘stars above’ which must have been designed by some deprived city soul who had never actually seen the sky at night and how beautiful it actually is. The last act featured a massively enlarged electric lamp pointing our way … then a miniature of the original setting … all very clever if not entirely original (Hansel and Gretal) nor particularly meaningful. Fantasy is fun, but an opera is opera - and that means voice and melody.
Singing is all around us in our daily lives … but grand opera is the Olympics of singing. It is the loudest, highest, finest and most original performers who should win out and be heard again. We often see operas in concert ... but even with the cleverest production, we never see opera dramas without singing! The first job of an opera singer is to be heard up the back. If that voice is still beautiful and expressive, this is a measure of success. Not all of the singers in Orlando fitted this category. If management either sat up the back more often themselves or else interviewed subscribers who do, we may have less criticism and more logical decisions on repertoire and who should sing it.
Our brochure promised ‘early music specialist’ Trevor Pinnock as conductor. There was no explanation given on the night that maestro was Paul Goodwin who is not even on the company’s web site. He led the small, specialist orchestra proficiently. I wondered if he was responsible for all the cuts or if it was a joint vivisection.
For me, Orlando remains a city in Florida. This Monday evening Opera Gala was not an auspicious event and fault must be sheeted back to management. Musical director, Richard Hickox has not been sighted for months, which is a fault.
Comments by Andrew Byrne .. http://www.redfernclinic.com/opera/critique/blog/
Sydney Lucia success. Sutherland's costumes severely cut-down!
Lucia di Lammermoor. Sydney Opera House, Wed 30th July 2008
This Lucia opening was a splendid affair. John Copley knows how to present opera while Bardon’s sets and Stennett’s costumes are classics. Such a production should be treated as history lesson for modern directors, every aspect enhancing the story line while never impeding the singing which is what an opera audience wants above all else. Nothing in the production draws attention to the director which cannot be said of many modern productions. This production was originated for Joan Sutherland to be done in the Concert Hall before being re-sized for the Opera Hall. This run is being conducted by Richard Bonynge, just like the original, proving his artistic longevity.
Emma Matthews is ready for this role. While her voice has little in common with that of Joan Sutherland, it is a role in which Matthews plays her own particular bride of Lammermoor. She can afford to be more energetic on stage, especially during her mad scene from crouching to lying on the ground and spinning, sautéing, collapsing, etc. Likewise, her vocal acrobatics were extraordinary, only once briefly departing from good taste in a duet. She used virtually all of the ‘Sutherland’ ornaments with great style and accuracy. Full throated high E flats ended the fountain cabaletta as well as the two third act show-pieces. With a tall, handsome tenor they made the perfect, if tragic couple.
Jose Carbo was an excellent Enrico, putting in all the baritone flourishes with his usual flair. Happily, the Wolf Crag scene was included, allowing us to hear this rare gem of the male duet repertory. In many ways Carbo was the star of the night.
American Eric Cutler returned to Australia and was a creditable Edgardo. He has a pleasant vocal timbre with a strong projection and fine dramatic sense. His cemetery scene was vocally engaging as it was devastating dramatically.
Basso Richard Anderson has a large range, singing the tutor’s role more youthfully, but with a plunging richness to his low notes.
The support singers were not up to the high standard of the main roles. The company used to employ over 100 solo singers but now has only a small group of ‘favourites’ of varying competence doing small roles. Some of the problem may be casting while some may be nerves on opening night. These roles should usually be done by young singers ‘on the way up’ in my view. Sutherland played Clotilde, the maid, long before she played Norma.
As I often state, we are privileged to have such a professional orchestra and chorus and neither let the side down (if we ignore the very first note of the opera, ‘fluffed’ by the horns).
Comments by Andrew Byrne ..
Surgery web page: http://www.redfernclinic.com/
Opera blog: http://www.redfernclinic.com/opera/critique/blog/
New York in 2008: http://ajbtravels.blogspot.com/
New York in 1922: http://bpresent.com/harry/code/10b_bowery.php
Travel log: http://www.redfernclinic.com/c/2007/10/lord-howe-island-naturalists.php4
This Lucia opening was a splendid affair. John Copley knows how to present opera while Bardon’s sets and Stennett’s costumes are classics. Such a production should be treated as history lesson for modern directors, every aspect enhancing the story line while never impeding the singing which is what an opera audience wants above all else. Nothing in the production draws attention to the director which cannot be said of many modern productions. This production was originated for Joan Sutherland to be done in the Concert Hall before being re-sized for the Opera Hall. This run is being conducted by Richard Bonynge, just like the original, proving his artistic longevity.
Emma Matthews is ready for this role. While her voice has little in common with that of Joan Sutherland, it is a role in which Matthews plays her own particular bride of Lammermoor. She can afford to be more energetic on stage, especially during her mad scene from crouching to lying on the ground and spinning, sautéing, collapsing, etc. Likewise, her vocal acrobatics were extraordinary, only once briefly departing from good taste in a duet. She used virtually all of the ‘Sutherland’ ornaments with great style and accuracy. Full throated high E flats ended the fountain cabaletta as well as the two third act show-pieces. With a tall, handsome tenor they made the perfect, if tragic couple.
Jose Carbo was an excellent Enrico, putting in all the baritone flourishes with his usual flair. Happily, the Wolf Crag scene was included, allowing us to hear this rare gem of the male duet repertory. In many ways Carbo was the star of the night.
American Eric Cutler returned to Australia and was a creditable Edgardo. He has a pleasant vocal timbre with a strong projection and fine dramatic sense. His cemetery scene was vocally engaging as it was devastating dramatically.
Basso Richard Anderson has a large range, singing the tutor’s role more youthfully, but with a plunging richness to his low notes.
The support singers were not up to the high standard of the main roles. The company used to employ over 100 solo singers but now has only a small group of ‘favourites’ of varying competence doing small roles. Some of the problem may be casting while some may be nerves on opening night. These roles should usually be done by young singers ‘on the way up’ in my view. Sutherland played Clotilde, the maid, long before she played Norma.
As I often state, we are privileged to have such a professional orchestra and chorus and neither let the side down (if we ignore the very first note of the opera, ‘fluffed’ by the horns).
Comments by Andrew Byrne ..
Surgery web page: http://www.redfernclinic.com/
Opera blog: http://www.redfernclinic.com/opera/critique/blog/
New York in 2008: http://ajbtravels.blogspot.com/
New York in 1922: http://bpresent.com/harry/code/10b_bowery.php
Travel log: http://www.redfernclinic.com/c/2007/10/lord-howe-island-naturalists.php4
Full blooded Otello at Sydney Opera House: Friday 18th July 2008.
Otello by Verdi. Sydney Opera House Friday 18th July 2008
At last the opera company has managed a smash hit, full blooded opera after two near misses. The revival of Harry Kupfer’s stair-mounted production of Otello was well received by a discerning Sydney public.
The best thing about Otello was the title role. Dennis O’Neill sang splendidly in the relentless tale of his undoing. His ‘Esultate’ was ringing and focussed, as were ‘Si pel ciel’ (with Summers), ‘Ora e per sempre, addio’ and the death scene. He was indeed the Venetian Lion!
Jonathan Summers has all it takes for the role of Iago, vocally and dramatically. He bounded around the stage like someone half his years and the voice was responsive across the wide range required. The challenging drinking song in Act 1 was energetic and proficient, its high notes rolling off perfectly. His ‘credo’ was solid. He made an entirely credible ‘mean machine’.
Cheryl Barker has a fine middle voice, however, she can tend to sound ‘plum in the mouth’ or nasal when outside this range. Few however could complain at her sympathetic portrayal of Desdemona which is well crafted, making her captivating yet vulnerable. Her ‘Willow song’ and Ave Maria following were poised and beautiful.
Kupfer’s modern production has all 4 acts dominated by a massive ‘face-on’ staircase, the right quarter of which has been ‘bombed out’ (there are even circular remnants of the damaged ceiling above). Two strips of richly patterned carpet intersect at right angles with a massive Atlas-holding-the-world statue half way up the relentless bank of stairs. Atop are half a dozen double louvre doors leading to a vertiginous veranda. Much of the action takes place on the steps themselves, making it very awkward for the singers. Only the distant upper landing, narrow strip near the footlights and a mere gap to the left are available for normal performing. The latter is all we have to resemble a bedroom for Act 4.
Kupfer has the chorus rush from the upper level at the first roaring notes of the opera to populate the stairs like a wave rushes up a beach. It is very effective dramatically yet an occupational safety officer may have some objections. The staircase might not pass muster under today’s building codes, having 20 steep, uninterrupted steps. I was told that the rear ‘stage’ stairs are even more perilous.
Kanen Breen managed the role of Cassio but it is not his ideal part (his Hoffmann characters were marvellous). On the other hand, Stephen Bennett, a one-time very fine Leporello for this company was performing the relatively small role of Montano. Jacqueline Dark again played a credible Emilia, the composite role of Iago’s wife and Desdemona’s maid. She and Mr Summers were in the original 2003 production featuring Frank Poretta conducted by Simone Young. The latter happened to be in the opening night audience along with lots of other dignitaries in town for the Catholic festivities and Pope’s visit. I was surprised that we still have not seen musical director Mr Richard Hickox so far this season.
The orchestra under Simon Hewett was equal to the enormous demands of this complex work. The fortissimi and pianissimi were most marked. From this performance, I find it hard to imagine a better sound coming from an improved pit design, although any measure to reduce aural damage in orchestra members is to be encouraged.
The opera company chorus also did a superb job, dealing with difficult demands vocally - not to mention the dangerous stage work.
Comments by Andrew Byrne ..
http://www.redfernclinic.com/opera/critique/blog/
At last the opera company has managed a smash hit, full blooded opera after two near misses. The revival of Harry Kupfer’s stair-mounted production of Otello was well received by a discerning Sydney public.
The best thing about Otello was the title role. Dennis O’Neill sang splendidly in the relentless tale of his undoing. His ‘Esultate’ was ringing and focussed, as were ‘Si pel ciel’ (with Summers), ‘Ora e per sempre, addio’ and the death scene. He was indeed the Venetian Lion!
Jonathan Summers has all it takes for the role of Iago, vocally and dramatically. He bounded around the stage like someone half his years and the voice was responsive across the wide range required. The challenging drinking song in Act 1 was energetic and proficient, its high notes rolling off perfectly. His ‘credo’ was solid. He made an entirely credible ‘mean machine’.
Cheryl Barker has a fine middle voice, however, she can tend to sound ‘plum in the mouth’ or nasal when outside this range. Few however could complain at her sympathetic portrayal of Desdemona which is well crafted, making her captivating yet vulnerable. Her ‘Willow song’ and Ave Maria following were poised and beautiful.
Kupfer’s modern production has all 4 acts dominated by a massive ‘face-on’ staircase, the right quarter of which has been ‘bombed out’ (there are even circular remnants of the damaged ceiling above). Two strips of richly patterned carpet intersect at right angles with a massive Atlas-holding-the-world statue half way up the relentless bank of stairs. Atop are half a dozen double louvre doors leading to a vertiginous veranda. Much of the action takes place on the steps themselves, making it very awkward for the singers. Only the distant upper landing, narrow strip near the footlights and a mere gap to the left are available for normal performing. The latter is all we have to resemble a bedroom for Act 4.
Kupfer has the chorus rush from the upper level at the first roaring notes of the opera to populate the stairs like a wave rushes up a beach. It is very effective dramatically yet an occupational safety officer may have some objections. The staircase might not pass muster under today’s building codes, having 20 steep, uninterrupted steps. I was told that the rear ‘stage’ stairs are even more perilous.
Kanen Breen managed the role of Cassio but it is not his ideal part (his Hoffmann characters were marvellous). On the other hand, Stephen Bennett, a one-time very fine Leporello for this company was performing the relatively small role of Montano. Jacqueline Dark again played a credible Emilia, the composite role of Iago’s wife and Desdemona’s maid. She and Mr Summers were in the original 2003 production featuring Frank Poretta conducted by Simone Young. The latter happened to be in the opening night audience along with lots of other dignitaries in town for the Catholic festivities and Pope’s visit. I was surprised that we still have not seen musical director Mr Richard Hickox so far this season.
The orchestra under Simon Hewett was equal to the enormous demands of this complex work. The fortissimi and pianissimi were most marked. From this performance, I find it hard to imagine a better sound coming from an improved pit design, although any measure to reduce aural damage in orchestra members is to be encouraged.
The opera company chorus also did a superb job, dealing with difficult demands vocally - not to mention the dangerous stage work.
Comments by Andrew Byrne ..
http://www.redfernclinic.com/opera/critique/blog/
Don Giovanni at the Sydney Opera House 5th July 2008
Don Giovanni at the Sydney Opera House. 7.30pm Saturday 5th July, 2008. Beautiful singing, unsympathetic production.
Gala opening of new production by Elke Neidhardt, designs by Michael Scott-Mitchell. “Bathing machines are 'in', "Il mio tesoro" is out!”
Dear Colleagues,
During the overture we were confronted with a huge hanging digital sign flashing numerals from 4000 down towards zero along with images, strokes and hurdy gerdy effects interposed across the stage. Like much of what occurred later, there seemed no rhyme or reason to this neon wizardry.
We were then led through the evil, small-town narrative of Don Giovanni … on this occasion with no recognisable town, no villa, no balcony, no furnishings, no decor, no Spanish streetscape for Elvira to get lost in as well as for the Don to be chased through.
The set was dominated by ugly ‘floating’ black and white triangles bearing the enlarged images of burnt tree-trunks. They were manoeuvred awkwardly on hydraulic rams and might better have been simply suspended from the flies without all the fuss. Numerous other angular illuminated shapes appeared and disappeared to little purpose until some were spray-painted by the Don who turned his hand to graffiti, as if the libretto did not give him enough bad behaviour.
These triangles framed rows of black and grey ‘lavatories’ in various guises used as hidey holes, entrances and exits. It was not clear why the Don had to take a shower on stage in the middle of the action unless it was to draw attention to the director. The nudity warning was spurious and probably a publicity stunt as there was simply no nudity on stage … unless you count an indistinct image through frosted glass.
This ugly and unsympathetic production displayed both lavish expense as well as economy. There was no statue of the Commendatore, no carriage (or limo) for Donna Elvira, and only a gap in the set for the famous serenade, ‘Deh vieni a la finestra’ (which was beautifully sung). The perspex chair and table for the Don’s ‘dinner with death’ were hardly original and the folding garden chairs demonstrate the company’s commitment to recycling. Not one scene brought a vista of any beauty to the eye. Does somebody think that Mozart’s music is so beautiful that it needs to be balanced by unsightliness on stage?
There seemed no unifying idea to the production and little to commend it overall. There were frequent crude sexual references, some just a little smutty, others grossly “out there”, such as groping episodes and Donna Elvira being wheeled around the stage with legs wedged apart, seated on a small tray-mobile.
The singing was from adequate to splendid. The two baritones excelled, starting with Joshua Bloom as Leporello. He ‘rabbited’ his way through this glorious ‘gift’ of a role with humour and poise. His voice is large and focussed with a velvet timbre, smooth and even throughout the range.
Hungarian Mr Gabor Bretz looked and sounded the full Don. He acted creditably and has a pleasant, imposing voice. Apart from the baritone roles of Massetto, Leporello and Ruggiero (La Juive), I note that he has also sung the bass roles of Fiesco, Rocco and The Grand Inquisitor.
Catherine Carby played Donna Elvira well but may have been slightly uncomfortable on the highest notes. I do not know if she is a mezzo or a soprano now. ‘Mi tradi’ was taken at a cracking pace, almost too fast for the singer, composer and audience. But at least the aria was heard, unlike previous Sydney performances in which they left out both Dalla sua pace and Mi tradi for supposed ‘historical’ reasons. This production leaves out both Il mio tesoro and the epilogue. One wondered if Mr Henry Choo was unable or unwilling to sing the more difficult aria, although he sang Dalla sua pace quite liltingly. I am not aware of any performances of Don Giovanni (with the exception of Mozart’s first season) from which Il mio tesoro has been omitted. There would be a good legal case for a refund in my view as this was not ‘goods as advertised’.
Rachel Durkin was a reliable Donna Anna. There was some sharpness to her voice but she presented a dignified and consistent character.
Amy Wilkinson and Richard Anderson were a fine young wedding couple.
It was reported in the weekend press that conductor Richard Hickox withdrew ‘due to European commitments which were brought forward’ which did not make sense to me. This is a fault and is most disappointing in someone who aspires to be a serious musical director of a serious opera company. Nevertheless, we had young Russian/American conductor Mikhail Agrest who did agreeable things on the podium.
This opening night was an abysmal failure from my perspective. I would prefer to see a concert version of an opera than sit through this post-modernist Euro mish-mash.
Comments by Andrew Byrne ..
New York in 2008: http://ajbtravels.blogspot.com/
New York in 1922: http://bpresent.com/harry/code/10b_bowery.php
Travel log: http://www.redfernclinic.com/c/2007/10/lord-howe-island-naturalists.php4
Gala opening of new production by Elke Neidhardt, designs by Michael Scott-Mitchell. “Bathing machines are 'in', "Il mio tesoro" is out!”
Dear Colleagues,
During the overture we were confronted with a huge hanging digital sign flashing numerals from 4000 down towards zero along with images, strokes and hurdy gerdy effects interposed across the stage. Like much of what occurred later, there seemed no rhyme or reason to this neon wizardry.
We were then led through the evil, small-town narrative of Don Giovanni … on this occasion with no recognisable town, no villa, no balcony, no furnishings, no decor, no Spanish streetscape for Elvira to get lost in as well as for the Don to be chased through.
The set was dominated by ugly ‘floating’ black and white triangles bearing the enlarged images of burnt tree-trunks. They were manoeuvred awkwardly on hydraulic rams and might better have been simply suspended from the flies without all the fuss. Numerous other angular illuminated shapes appeared and disappeared to little purpose until some were spray-painted by the Don who turned his hand to graffiti, as if the libretto did not give him enough bad behaviour.
These triangles framed rows of black and grey ‘lavatories’ in various guises used as hidey holes, entrances and exits. It was not clear why the Don had to take a shower on stage in the middle of the action unless it was to draw attention to the director. The nudity warning was spurious and probably a publicity stunt as there was simply no nudity on stage … unless you count an indistinct image through frosted glass.
This ugly and unsympathetic production displayed both lavish expense as well as economy. There was no statue of the Commendatore, no carriage (or limo) for Donna Elvira, and only a gap in the set for the famous serenade, ‘Deh vieni a la finestra’ (which was beautifully sung). The perspex chair and table for the Don’s ‘dinner with death’ were hardly original and the folding garden chairs demonstrate the company’s commitment to recycling. Not one scene brought a vista of any beauty to the eye. Does somebody think that Mozart’s music is so beautiful that it needs to be balanced by unsightliness on stage?
There seemed no unifying idea to the production and little to commend it overall. There were frequent crude sexual references, some just a little smutty, others grossly “out there”, such as groping episodes and Donna Elvira being wheeled around the stage with legs wedged apart, seated on a small tray-mobile.
The singing was from adequate to splendid. The two baritones excelled, starting with Joshua Bloom as Leporello. He ‘rabbited’ his way through this glorious ‘gift’ of a role with humour and poise. His voice is large and focussed with a velvet timbre, smooth and even throughout the range.
Hungarian Mr Gabor Bretz looked and sounded the full Don. He acted creditably and has a pleasant, imposing voice. Apart from the baritone roles of Massetto, Leporello and Ruggiero (La Juive), I note that he has also sung the bass roles of Fiesco, Rocco and The Grand Inquisitor.
Catherine Carby played Donna Elvira well but may have been slightly uncomfortable on the highest notes. I do not know if she is a mezzo or a soprano now. ‘Mi tradi’ was taken at a cracking pace, almost too fast for the singer, composer and audience. But at least the aria was heard, unlike previous Sydney performances in which they left out both Dalla sua pace and Mi tradi for supposed ‘historical’ reasons. This production leaves out both Il mio tesoro and the epilogue. One wondered if Mr Henry Choo was unable or unwilling to sing the more difficult aria, although he sang Dalla sua pace quite liltingly. I am not aware of any performances of Don Giovanni (with the exception of Mozart’s first season) from which Il mio tesoro has been omitted. There would be a good legal case for a refund in my view as this was not ‘goods as advertised’.
Rachel Durkin was a reliable Donna Anna. There was some sharpness to her voice but she presented a dignified and consistent character.
Amy Wilkinson and Richard Anderson were a fine young wedding couple.
It was reported in the weekend press that conductor Richard Hickox withdrew ‘due to European commitments which were brought forward’ which did not make sense to me. This is a fault and is most disappointing in someone who aspires to be a serious musical director of a serious opera company. Nevertheless, we had young Russian/American conductor Mikhail Agrest who did agreeable things on the podium.
This opening night was an abysmal failure from my perspective. I would prefer to see a concert version of an opera than sit through this post-modernist Euro mish-mash.
Comments by Andrew Byrne ..
New York in 2008: http://ajbtravels.blogspot.com/
New York in 1922: http://bpresent.com/harry/code/10b_bowery.php
Travel log: http://www.redfernclinic.com/c/2007/10/lord-howe-island-naturalists.php4
My Fair Lady - is this appropriate for an Opera Gala Opening?
My Fair Lady - Sydney Opera House 7.30pm Saturday 22nd June 2008. Gala Season Opening.
Despite being an artistic success, in some respects this was an acutely embarrassing event, sadly reflecting the current management's lack of commitment to opera, singers and their traditional audience. They continue to chase the theatrical dollar rather than respecting the art form their organisation is named for. Nobody minds some lighter pieces and the company does musicals and G&S as well as anyone. Yet this is an opera company and we paid for opera tickets and we deserve an opera for our season opening! It would be like going to the tennis and being told there would only be basketball playing! Enough of that.
Reg Livermore successfully played Henry Higgins, a character perhaps half his own age. I heard complaints that he sang too much while others said he sang too little, so he probably got the balance right! While no opera singer, his singing voice is quite pleasant, if a little nasal at times. His quip and quiddity on stage are superlative where he is the true professional. So too was his mother, Misses Higgins, played by another veteran, Nancye Hayes who was hilarious.
Eliza was Taryn Fiebig, a trained opera singer who, like everybody else, was seriously amplified. She played this ‘gift’ part beautifully including the accents. She was sensitive, vulnerable and yet self confident and independent by the end - with its ambiguous dénouement.
Colonel Pickering was played by Rhys McConnochie; Alfred Doolittle by Robert Grubb; Mrs Pearce by Adele Johnston. All the main and supporting roles were excellent. The chorus was also in fine form.
The production is original and engaging with a revolve to allow immediate scene changes. Clever detail allowed a glance at patrons inside the pub before it rotated further to become a street frontage where we heard some of the many pot-boilers of the score. The costumes were splendid, especially the Royal Ascot ladies in their grey, black and coral outfits with some extraordinary and enormous hats. Costumes by Roger Kirk, sets Richard Roberts, direction Stuart Maunder.
The two scenes in the Higgins residence in Wimpole Street were brilliantly created. We heard ‘The rain in Spain’ in the comfortable gentleman’s studio while the stunning entrance of the transformed Eliza (and her disappearance later on) occurred in an elegant entrance hall and stairway.
The orchestra played well under maestro Andrew Greene. The audience was appreciative and obligingly clapped along with the rum-tee-tum strains accompanying the curtain calls. The best performance, however, may have been the glorious full moon which rose 15 minutes before the show, clearly visible from the balcony, foyer and eastern walkways of the Opera House.
Comments by Andrew Byrne ..
Travel log: http://www.redfernclinic.com/c/2007/10/lord-howe-island-naturalists.php4
Despite being an artistic success, in some respects this was an acutely embarrassing event, sadly reflecting the current management's lack of commitment to opera, singers and their traditional audience. They continue to chase the theatrical dollar rather than respecting the art form their organisation is named for. Nobody minds some lighter pieces and the company does musicals and G&S as well as anyone. Yet this is an opera company and we paid for opera tickets and we deserve an opera for our season opening! It would be like going to the tennis and being told there would only be basketball playing! Enough of that.
Reg Livermore successfully played Henry Higgins, a character perhaps half his own age. I heard complaints that he sang too much while others said he sang too little, so he probably got the balance right! While no opera singer, his singing voice is quite pleasant, if a little nasal at times. His quip and quiddity on stage are superlative where he is the true professional. So too was his mother, Misses Higgins, played by another veteran, Nancye Hayes who was hilarious.
Eliza was Taryn Fiebig, a trained opera singer who, like everybody else, was seriously amplified. She played this ‘gift’ part beautifully including the accents. She was sensitive, vulnerable and yet self confident and independent by the end - with its ambiguous dénouement.
Colonel Pickering was played by Rhys McConnochie; Alfred Doolittle by Robert Grubb; Mrs Pearce by Adele Johnston. All the main and supporting roles were excellent. The chorus was also in fine form.
The production is original and engaging with a revolve to allow immediate scene changes. Clever detail allowed a glance at patrons inside the pub before it rotated further to become a street frontage where we heard some of the many pot-boilers of the score. The costumes were splendid, especially the Royal Ascot ladies in their grey, black and coral outfits with some extraordinary and enormous hats. Costumes by Roger Kirk, sets Richard Roberts, direction Stuart Maunder.
The two scenes in the Higgins residence in Wimpole Street were brilliantly created. We heard ‘The rain in Spain’ in the comfortable gentleman’s studio while the stunning entrance of the transformed Eliza (and her disappearance later on) occurred in an elegant entrance hall and stairway.
The orchestra played well under maestro Andrew Greene. The audience was appreciative and obligingly clapped along with the rum-tee-tum strains accompanying the curtain calls. The best performance, however, may have been the glorious full moon which rose 15 minutes before the show, clearly visible from the balcony, foyer and eastern walkways of the Opera House.
Comments by Andrew Byrne ..
Travel log: http://www.redfernclinic.com/c/2007/10/lord-howe-island-naturalists.php4
Salute to the life of John Cargher.
Mr John Cargher 1919-2008
Australia has lost a great musical ambassador with the death of John Cargher on Wednesday 30 April 2008 at his home in Melbourne aged 89. He was a self-taught expert and critic on voices, composers, opera and classical music generally. His 'Singers of Renown' has been a Saturday afternoon fixture on ABC Radio for forty two years. I listened avidly to his broadcasts whenever I could and they often raised discussions between family and friends.
I only knew John from his occasional outings to the opera in Sydney and from numerous email exchanges. Many in Melbourne knew John personally from his involvement in record stores and theatrical exploits from 1951 when he arrived from London. Yet it was his broadcasting which took his softly spoken European accent and his personality into homes across Australia and beyond. His father Jacob was a rabbinical student in London where John was born. He was raised in Germany and Spain due to the illness and early death of his German mother. John then returned to London as a teenager to learn a trade and also attend operas and concerts in cheap seats.
John’s choice of items was always novel as were his eclectic commentaries between them. Even many non-opera people know John's signature tune, the 'nostalgia' duet from Il Tabarro with Mario del Monaco and Renata Tebaldi. This glorious and previously obscure piece of soaring Puccini is now probably the most often broadcast opera excerpt in the world after more than 2000 programs. Dame Joan Hammond also popularised a famous aria from this Puccini Trittico masterpiece "Oh mio babino caro".
Even up to recent weeks John was still making his pre-recorded weekly broadcasts, despite some repeats due to illness. On the week of his death the ABC replayed a program from the 1990s featuring Verdi’s opera Ernani with excerpts from the 78 era to the present day. While personally favouring the great baritone arias, he played a vastly varied selection from the last castrato to strained falsettos and booming basses. My own favourite ‘oddities’ were the delightfully drunk soprano song, the famous pussy-cat duet "Miaou" and the tone-deaf Florence Foster Jenkins. He avoided the temptation to showcase Callas, Sutherland and Pavarotti who he played infrequently. Other century greats he played included Gigli, Tucker, Di Stefano, Schmit, Warren, dal Monti, Ponselle, Muzio and Caruso. His historical notes often included how the Second World War affected careers and lives of individuals. He often mentioned the cantorial tradition and occasionally mentioned his Jewish roots.
John Cargher wrote numerous books popularising classical music and he was made a member of the Order of Australia for his services to music and the theatre. His wry wit, profound knowledge and occasional exposed mistake will always be remembered by this listener. Rest in peace. May his passing inspire others to such heights. He leaves his second wife, Robyn Walton and daughter Penelope.
[Written by Sydney addictions physician and opera critic Andrew Byrne]
Australia has lost a great musical ambassador with the death of John Cargher on Wednesday 30 April 2008 at his home in Melbourne aged 89. He was a self-taught expert and critic on voices, composers, opera and classical music generally. His 'Singers of Renown' has been a Saturday afternoon fixture on ABC Radio for forty two years. I listened avidly to his broadcasts whenever I could and they often raised discussions between family and friends.
I only knew John from his occasional outings to the opera in Sydney and from numerous email exchanges. Many in Melbourne knew John personally from his involvement in record stores and theatrical exploits from 1951 when he arrived from London. Yet it was his broadcasting which took his softly spoken European accent and his personality into homes across Australia and beyond. His father Jacob was a rabbinical student in London where John was born. He was raised in Germany and Spain due to the illness and early death of his German mother. John then returned to London as a teenager to learn a trade and also attend operas and concerts in cheap seats.
John’s choice of items was always novel as were his eclectic commentaries between them. Even many non-opera people know John's signature tune, the 'nostalgia' duet from Il Tabarro with Mario del Monaco and Renata Tebaldi. This glorious and previously obscure piece of soaring Puccini is now probably the most often broadcast opera excerpt in the world after more than 2000 programs. Dame Joan Hammond also popularised a famous aria from this Puccini Trittico masterpiece "Oh mio babino caro".
Even up to recent weeks John was still making his pre-recorded weekly broadcasts, despite some repeats due to illness. On the week of his death the ABC replayed a program from the 1990s featuring Verdi’s opera Ernani with excerpts from the 78 era to the present day. While personally favouring the great baritone arias, he played a vastly varied selection from the last castrato to strained falsettos and booming basses. My own favourite ‘oddities’ were the delightfully drunk soprano song, the famous pussy-cat duet "Miaou" and the tone-deaf Florence Foster Jenkins. He avoided the temptation to showcase Callas, Sutherland and Pavarotti who he played infrequently. Other century greats he played included Gigli, Tucker, Di Stefano, Schmit, Warren, dal Monti, Ponselle, Muzio and Caruso. His historical notes often included how the Second World War affected careers and lives of individuals. He often mentioned the cantorial tradition and occasionally mentioned his Jewish roots.
John Cargher wrote numerous books popularising classical music and he was made a member of the Order of Australia for his services to music and the theatre. His wry wit, profound knowledge and occasional exposed mistake will always be remembered by this listener. Rest in peace. May his passing inspire others to such heights. He leaves his second wife, Robyn Walton and daughter Penelope.
[Written by Sydney addictions physician and opera critic Andrew Byrne]
Fille du Regiment - Note cinema broadcasts of this production.
La Fille du Regiment. Donizetti. Metropolitan Opera, New York.
Monday 21st April 2008 - opening night.
Juan Diego Florez - Tonio
Natalie Dessay - Marie
Alessandro Corbelli - Suplice (Sergeant Major)
Felicity Palmer - Marquise de Berkenfield
Marian Seldes - Duchess of Krackenthorp (acting role)
Conductor - Marco Armiliato
Production - Laurent Pelly
Sets - Chantal Thomas
Dear Colleagues,
In a French-inspired ‘geographic’ alpine production coming via London and Vienna this opera was raised from the relatively superficial to a level equal to anything the Met has done in my experience. The set flooring was made up of five or more overlapped maps of central Europe. Three corners peaked behind as if real mountains while one corner draped naturalistically into the orchestra pit. We had heard from the designer in the introduction that the military were the origin of all maps, obviously for strategic purposes.
Following the plot in which the alpine village is defending itself against the enemy, this extraordinary production opens with a blockade across the entire Met stage. The barrage consisted of furniture, wheeled carts, lumber, garden equipment, bric-a-brac and other household goods, all piled against each other. Most amusingly, a curtained wardrobe in the middle became the temporary refuge for the all-too-sensitive Marquise before it was wheeled off as her unceremonious exit. The next scene sees Marie doing the washing and ironing with bunks set up as a deserted army camp in the open.
Tonio’s arrival caused great mayhem as he was an outsider who had caught the eye of the Regiment’s daring, Marie who was already ‘promised’ to a company soldier when she was old enough. We were told in song that Tonio had risked his life to save Marie from falling to her death while picking flowers. A rare encore was performed by Mr Florez in his famous aria (‘Ah mes amis … Pour mon âme’). This turned the already incredible 9 high C’s into 18. And none was clipped or insubstantial. And most were on ‘the terrible vowel’, ‘a’ (ame, and flame). There was some banter between conductor and tenor during the initial applause and finally the bis was indicated on the conductor’s fingers. A colossal effort! Florez then received one of the few spontaneous standing ovations I have seen at the Met. A friend said it was the only spontaneous standing ovation he had seen in over 50 years of Met openings.
Peruvian tenor Juan Diego Florez is the darling of the opera world at present and has gone from strength to strength on the world stage adding Olympic-type records to his repertoire. These include the extra scene in Barbiere di Siviglia (others have attempted it but few succeeded so comprehensively). On this Met Gala he sang, danced and acted his way into the hearts (and pockets) of the elite of New York, many of whom had paid well over five hundred dollars for dinner, supper and premium tickets. His act 2 pleading aria was taken as slowly as I have heard it – moving, legato and effective dramatically, quite the opposite of the ‘rapid-fire’ act 1 aria with all the high C’s. Yet both speak of his love for Marie in different company and for different reasons. Both are successful.
Florez was in good company with the quirky and beautiful Natalie Dessay who did a captivating if unusual Lucia recently to great acclaim. In ‘Fille’, she took dramatic control initially as a coquettish tomboy, but revealed the most feminine of attributes in her performance. She took her time. At one point she mumbled incoherently for an age on stage, making a funny skit funnier. She bounced gracefully all over the stage and was carried aloft more than once for her phenomenally difficult cadenzas. Singing a high E flat while being carried aloft must be unique. Dessay’s ‘Il faut partir’ was dramatically moving and vocally flawless.
Both lovers were aided by a fine natural comedian, Alessandro Corbelli as Suplice who ends up marrying the Marquise. He had sung Gianni Schicchi last year with great acclaim. Well known Broadway actress Marian Seldes played the Duchess of Krackenthorp with great aplomb. She partnered Angela Lansbury in Deuce last year.
Act two took place on the same set but with an entire ballroom floor positioned diagonally across the stage. It was wedged up from the existing stage floor with (you-guessed-it) rolled up maps! The formal entrance, windows, pictures, fireplace and servants’ door were all hollow black frames. Stage left was a grand piano used for the famous singing lesson scene - and actually played by Ms Palmer as she coached Marie in a genteel song which always seemed to have a rhythmic, regimental second subject. The Met chorus made up a brilliant band of soldiers (see photographs of uniform on web site) and in the second act a ludicrous bunch of geriatric invitees for the arranged marriage (initially minus groom, then minus bride as well!).
This clever production contained more small comic details than one could possibly write about in a review. At one point early in the opera the townsfolk sing to the Madonna to save them from the advancing enemy. Momentarily the haughty Marquise thinks they are singing to her! The soldiers’ rescue comes in the form of a mechanised army tank rolling onto stage right, machinery sound effects and all! Tonio sang atop the tank as if in a war zone. While the French dialogue had been rewritten it all seemed perfectly attuned to the story. Also, it occasionally broke into English, each time to comic effect.
At the end there was a phenomenal ovation. The crowds screamed for Mr Florez and his paramour. Each time they took a bow it sounded like the stadium crowd roaring over a winning goal.
This may be the most exciting opera performance I have seen since the Sutherland days. I wrote later that night on the internet that the notices should be on the FRONT pages of the papers - and I was right! [see New York Times 23 April]
Comments by Andrew Byrne ..
Review of Toti dal Monti in ‘Fille du Regiment’ in 1928:
http://www.redfernclinic.com/opera/critique/blog/2006/07/grand-opera-toti-dal-montes-success.php4
Short review of Fille du Regiment Gala written on the night:
http://www.redfernclinic.com/opera/critique/blog/2008/04/la-fille-du-regiment-met-magic.php4
Review of Met Open Day and Rehearsal of Fille du Regiment.
http://www.redfernclinic.com/opera/critique/blog/2008/04/fille-du-regiment-rehearsal-friday-open.php4
Beverly Sills doing the final scene at The Daughter of the Regiment
Wolf Trap Festival 1974. http://www.youtube.com/watch?v=lUhvGMVnKMo
YouTube item from this production: http://www.youtube.com/watch?v=3aS6M8j3pvQ
Monday 21st April 2008 - opening night.
Juan Diego Florez - Tonio
Natalie Dessay - Marie
Alessandro Corbelli - Suplice (Sergeant Major)
Felicity Palmer - Marquise de Berkenfield
Marian Seldes - Duchess of Krackenthorp (acting role)
Conductor - Marco Armiliato
Production - Laurent Pelly
Sets - Chantal Thomas
Dear Colleagues,
In a French-inspired ‘geographic’ alpine production coming via London and Vienna this opera was raised from the relatively superficial to a level equal to anything the Met has done in my experience. The set flooring was made up of five or more overlapped maps of central Europe. Three corners peaked behind as if real mountains while one corner draped naturalistically into the orchestra pit. We had heard from the designer in the introduction that the military were the origin of all maps, obviously for strategic purposes.
Following the plot in which the alpine village is defending itself against the enemy, this extraordinary production opens with a blockade across the entire Met stage. The barrage consisted of furniture, wheeled carts, lumber, garden equipment, bric-a-brac and other household goods, all piled against each other. Most amusingly, a curtained wardrobe in the middle became the temporary refuge for the all-too-sensitive Marquise before it was wheeled off as her unceremonious exit. The next scene sees Marie doing the washing and ironing with bunks set up as a deserted army camp in the open.
Tonio’s arrival caused great mayhem as he was an outsider who had caught the eye of the Regiment’s daring, Marie who was already ‘promised’ to a company soldier when she was old enough. We were told in song that Tonio had risked his life to save Marie from falling to her death while picking flowers. A rare encore was performed by Mr Florez in his famous aria (‘Ah mes amis … Pour mon âme’). This turned the already incredible 9 high C’s into 18. And none was clipped or insubstantial. And most were on ‘the terrible vowel’, ‘a’ (ame, and flame). There was some banter between conductor and tenor during the initial applause and finally the bis was indicated on the conductor’s fingers. A colossal effort! Florez then received one of the few spontaneous standing ovations I have seen at the Met. A friend said it was the only spontaneous standing ovation he had seen in over 50 years of Met openings.
Peruvian tenor Juan Diego Florez is the darling of the opera world at present and has gone from strength to strength on the world stage adding Olympic-type records to his repertoire. These include the extra scene in Barbiere di Siviglia (others have attempted it but few succeeded so comprehensively). On this Met Gala he sang, danced and acted his way into the hearts (and pockets) of the elite of New York, many of whom had paid well over five hundred dollars for dinner, supper and premium tickets. His act 2 pleading aria was taken as slowly as I have heard it – moving, legato and effective dramatically, quite the opposite of the ‘rapid-fire’ act 1 aria with all the high C’s. Yet both speak of his love for Marie in different company and for different reasons. Both are successful.
Florez was in good company with the quirky and beautiful Natalie Dessay who did a captivating if unusual Lucia recently to great acclaim. In ‘Fille’, she took dramatic control initially as a coquettish tomboy, but revealed the most feminine of attributes in her performance. She took her time. At one point she mumbled incoherently for an age on stage, making a funny skit funnier. She bounced gracefully all over the stage and was carried aloft more than once for her phenomenally difficult cadenzas. Singing a high E flat while being carried aloft must be unique. Dessay’s ‘Il faut partir’ was dramatically moving and vocally flawless.
Both lovers were aided by a fine natural comedian, Alessandro Corbelli as Suplice who ends up marrying the Marquise. He had sung Gianni Schicchi last year with great acclaim. Well known Broadway actress Marian Seldes played the Duchess of Krackenthorp with great aplomb. She partnered Angela Lansbury in Deuce last year.
Act two took place on the same set but with an entire ballroom floor positioned diagonally across the stage. It was wedged up from the existing stage floor with (you-guessed-it) rolled up maps! The formal entrance, windows, pictures, fireplace and servants’ door were all hollow black frames. Stage left was a grand piano used for the famous singing lesson scene - and actually played by Ms Palmer as she coached Marie in a genteel song which always seemed to have a rhythmic, regimental second subject. The Met chorus made up a brilliant band of soldiers (see photographs of uniform on web site) and in the second act a ludicrous bunch of geriatric invitees for the arranged marriage (initially minus groom, then minus bride as well!).
This clever production contained more small comic details than one could possibly write about in a review. At one point early in the opera the townsfolk sing to the Madonna to save them from the advancing enemy. Momentarily the haughty Marquise thinks they are singing to her! The soldiers’ rescue comes in the form of a mechanised army tank rolling onto stage right, machinery sound effects and all! Tonio sang atop the tank as if in a war zone. While the French dialogue had been rewritten it all seemed perfectly attuned to the story. Also, it occasionally broke into English, each time to comic effect.
At the end there was a phenomenal ovation. The crowds screamed for Mr Florez and his paramour. Each time they took a bow it sounded like the stadium crowd roaring over a winning goal.
This may be the most exciting opera performance I have seen since the Sutherland days. I wrote later that night on the internet that the notices should be on the FRONT pages of the papers - and I was right! [see New York Times 23 April]
Comments by Andrew Byrne ..
Review of Toti dal Monti in ‘Fille du Regiment’ in 1928:
http://www.redfernclinic.com/opera/critique/blog/2006/07/grand-opera-toti-dal-montes-success.php4
Short review of Fille du Regiment Gala written on the night:
http://www.redfernclinic.com/opera/critique/blog/2008/04/la-fille-du-regiment-met-magic.php4
Review of Met Open Day and Rehearsal of Fille du Regiment.
http://www.redfernclinic.com/opera/critique/blog/2008/04/fille-du-regiment-rehearsal-friday-open.php4
Beverly Sills doing the final scene at The Daughter of the Regiment
Wolf Trap Festival 1974. http://www.youtube.com/watch?v=lUhvGMVnKMo
YouTube item from this production: http://www.youtube.com/watch?v=3aS6M8j3pvQ
La Fille du Regiment. Met magic this evening. Brief notes.
Donizetti. Metropolitan Opera New York City. Monday 21st April 2008.
Dear Colleagues,
This was indeed a night of nights. The company has pulled out all the stops and provided high class comic opera without rival. In a French-inspired ‘geographic’ alpine production coming via London and Vienna this opera was raised from the relatively superficial to a level equal to anything the Met has done in my experience. For one thing, a rare encore was performed by Mr Florez (‘Ah mes amis’). This turned the already incredible 9 high C’s into 18. And none was clipped or insubstantial. A colossal effort! He then received one of the few spontaneous standing ovations I have seen at the Met (a colleague said it was the only spontaneous standing ovation he had seen in over 50 years of Met openings).
Peruvian tenor Juan Diego Florez is the darling of the opera world at present and has gone from strength to strength on the world stage adding Olympian records to his repertoire. These include the extra scene in Barbiere di Siviglia (others have attempted it but few succeeded so comprehensively). He sang, danced and acted his way into the hearts (and pockets) of the elite of New York, many of whom had paid over five hundred dollars for dinner, supper and premium tickets. His act 2 pleading aria was taken as slowly as I have heard it – moving, legato and effective dramatically, quite the opposite of the ‘rapid-fire’ act 1 aria with all the high C’s.
And he was in good company with the quirky and attractive Natalie Dessay as well as a fine natural comedy man, Alessandro Corbelli as Suplice the sergeant major. He sang Gianni Schicchi last year with great acclaim. Famous actress Marian Seldes played the Duchess of Crackenthorp with great aplomb. She was in Deuce last year with Angela Lansbury.
At the end there was a phenomenal ovation. The crowds screamed for Florez. Each time he took a bow it sounded like the stadium roaring over goals. This may be the most exciting opera performance I have seen since the Sutherland days.
It should be on the front pages of the papers, not buried in the entertainment section! [and it was!]
Andrew Byrne .. 1922 review of Toti dal Monti in the opera:
http://www.redfernclinic.com/opera/critique/blog/2006/07/grand-opera-toti-dal-montes-success.php4
Dear Colleagues,
This was indeed a night of nights. The company has pulled out all the stops and provided high class comic opera without rival. In a French-inspired ‘geographic’ alpine production coming via London and Vienna this opera was raised from the relatively superficial to a level equal to anything the Met has done in my experience. For one thing, a rare encore was performed by Mr Florez (‘Ah mes amis’). This turned the already incredible 9 high C’s into 18. And none was clipped or insubstantial. A colossal effort! He then received one of the few spontaneous standing ovations I have seen at the Met (a colleague said it was the only spontaneous standing ovation he had seen in over 50 years of Met openings).
Peruvian tenor Juan Diego Florez is the darling of the opera world at present and has gone from strength to strength on the world stage adding Olympian records to his repertoire. These include the extra scene in Barbiere di Siviglia (others have attempted it but few succeeded so comprehensively). He sang, danced and acted his way into the hearts (and pockets) of the elite of New York, many of whom had paid over five hundred dollars for dinner, supper and premium tickets. His act 2 pleading aria was taken as slowly as I have heard it – moving, legato and effective dramatically, quite the opposite of the ‘rapid-fire’ act 1 aria with all the high C’s.
And he was in good company with the quirky and attractive Natalie Dessay as well as a fine natural comedy man, Alessandro Corbelli as Suplice the sergeant major. He sang Gianni Schicchi last year with great acclaim. Famous actress Marian Seldes played the Duchess of Crackenthorp with great aplomb. She was in Deuce last year with Angela Lansbury.
At the end there was a phenomenal ovation. The crowds screamed for Florez. Each time he took a bow it sounded like the stadium roaring over goals. This may be the most exciting opera performance I have seen since the Sutherland days.
It should be on the front pages of the papers, not buried in the entertainment section! [and it was!]
Andrew Byrne .. 1922 review of Toti dal Monti in the opera:
http://www.redfernclinic.com/opera/critique/blog/2006/07/grand-opera-toti-dal-montes-success.php4
Fille du Regiment rehearsal Friday open-day' at the Met
Fille du Regiment rehearsal - Friday open-day at the Met. 11am Friday 18th April 2008
This was another successful demonstration of the Gelb Dynasty way of doing business at the Met. Following an advertisement in the New York Post, I called by phone (internet was unresponsive) at the appointed hour the previous Sunday, and eventually got thru after 20 minutes of trying. We secured two free tickets in the Grand Tier, as did our friends. We all did as we were told and arrived an hour early to view some displays in the main foyer involving costumes, house organisation, special effects, lighting, scenery painting and stage modelling. These displays were all original and interesting … remote controlled revolving spotlights, on-stage illuminated handbags for Macbeth, understudy’s costumes, flaming sword, stage models (‘maquette’ is the trade term I am told), smoke making machine, etc.
I asked each representative in turn about the worst disaster in their department - with some startling responses. The special effects man had designed an exploding book for the end of Faust but one night he accidentally stapled the wires together and it refused to ignite at the crucial time. This was highly embarrassing for the performer so a large ’grovel’ was called for.
The costume lady had a very sad tale involving the death on stage of Richard Versalle (January 1996 - Makropoulos Secret). They required a new costume for his understudy for the very next performance (it was not clear if this was due to the singer’s size, respect for the dead or if the original was damaged in resuscitation attempts). After two full days of sewing over a cold weekend, the next performance was also cancelled - this time due to a massive blizzard which shut down the entire US east coast.
I had two disasters recounted by the sets representative. The new Madama Butterfly design had a huge wall of dangling flowers which were rolled up after the first night. When unrolling them for the second performance it was found that they had all stuck together and it took a Herculean effort of every available pair of hands in the building to separate the mass of rolled up flowers, strand by strand to help get the disentanglement sorted before curtain time.
In another disaster there was a scrim across the stage in an opera which ripped right across as it was being taken out. Apparently these scrims have heavy balance weights on each side to stop them wrinkling but these obviously are meant to be removed before raising the delicate fabric. The weights were left in place on this occasion and the curtain predictably ripped right across its top section. As there was another performance in a few days’ time a careful sewing job was needed to first cut the break cleanly on both sides and then resuture the smooth edges with invisible thread in time. Fortunately there was only a small strip lost and enough spare to use the same scrim. A replacement at such short notice would not have been possible.
The sets person explained about the loss of an expensive stage model which had been left in a box which was taken accidentally for trash. These models can take two of three people a number of weeks to make up and so such a loss would have been a calamity. The box was on board the trash truck some blocks away from Lincoln Center before it was stopped and the model retrieved intact for posterity. One of these very models was on show representing the three overlaid maps making the set and three mountains behind the Fille du Regiment design.
It is not appropriate to comment on a rehearsal so suffice it to say that honour was satisfied and the Monday Gala opening should be a swish event mirroring the London success of this production with practically the same cast from a year or more ago.
After the performance the (exhausted) singers, actors, conductor and production team sat on the Act 2 set and were interviewed by Margaret Junthwaite. We were given lots of insights into geography (hint), comedy, acting, stagecraft and other matters.
All in all a real treat for us out-of-towners – and locals alike. I am very grateful for having been able to attend this splendid event. It has got to be good for public relations and would have cost the company little or nothing since there were some generous sponsors named who defrayed the additional expenses over a closed rehearsal.
Andrew Byrne ..
Travel log: http://www.redfernclinic.com/c/2007/10/lord-howe-island-naturalists.php4
This was another successful demonstration of the Gelb Dynasty way of doing business at the Met. Following an advertisement in the New York Post, I called by phone (internet was unresponsive) at the appointed hour the previous Sunday, and eventually got thru after 20 minutes of trying. We secured two free tickets in the Grand Tier, as did our friends. We all did as we were told and arrived an hour early to view some displays in the main foyer involving costumes, house organisation, special effects, lighting, scenery painting and stage modelling. These displays were all original and interesting … remote controlled revolving spotlights, on-stage illuminated handbags for Macbeth, understudy’s costumes, flaming sword, stage models (‘maquette’ is the trade term I am told), smoke making machine, etc.
I asked each representative in turn about the worst disaster in their department - with some startling responses. The special effects man had designed an exploding book for the end of Faust but one night he accidentally stapled the wires together and it refused to ignite at the crucial time. This was highly embarrassing for the performer so a large ’grovel’ was called for.
The costume lady had a very sad tale involving the death on stage of Richard Versalle (January 1996 - Makropoulos Secret). They required a new costume for his understudy for the very next performance (it was not clear if this was due to the singer’s size, respect for the dead or if the original was damaged in resuscitation attempts). After two full days of sewing over a cold weekend, the next performance was also cancelled - this time due to a massive blizzard which shut down the entire US east coast.
I had two disasters recounted by the sets representative. The new Madama Butterfly design had a huge wall of dangling flowers which were rolled up after the first night. When unrolling them for the second performance it was found that they had all stuck together and it took a Herculean effort of every available pair of hands in the building to separate the mass of rolled up flowers, strand by strand to help get the disentanglement sorted before curtain time.
In another disaster there was a scrim across the stage in an opera which ripped right across as it was being taken out. Apparently these scrims have heavy balance weights on each side to stop them wrinkling but these obviously are meant to be removed before raising the delicate fabric. The weights were left in place on this occasion and the curtain predictably ripped right across its top section. As there was another performance in a few days’ time a careful sewing job was needed to first cut the break cleanly on both sides and then resuture the smooth edges with invisible thread in time. Fortunately there was only a small strip lost and enough spare to use the same scrim. A replacement at such short notice would not have been possible.
The sets person explained about the loss of an expensive stage model which had been left in a box which was taken accidentally for trash. These models can take two of three people a number of weeks to make up and so such a loss would have been a calamity. The box was on board the trash truck some blocks away from Lincoln Center before it was stopped and the model retrieved intact for posterity. One of these very models was on show representing the three overlaid maps making the set and three mountains behind the Fille du Regiment design.
It is not appropriate to comment on a rehearsal so suffice it to say that honour was satisfied and the Monday Gala opening should be a swish event mirroring the London success of this production with practically the same cast from a year or more ago.
After the performance the (exhausted) singers, actors, conductor and production team sat on the Act 2 set and were interviewed by Margaret Junthwaite. We were given lots of insights into geography (hint), comedy, acting, stagecraft and other matters.
All in all a real treat for us out-of-towners – and locals alike. I am very grateful for having been able to attend this splendid event. It has got to be good for public relations and would have cost the company little or nothing since there were some generous sponsors named who defrayed the additional expenses over a closed rehearsal.
Andrew Byrne ..
Travel log: http://www.redfernclinic.com/c/2007/10/lord-howe-island-naturalists.php4
Masked Ball at the Met. April 19.
Saturday 19th April 2008
Ballo in Maschera. Metropolitan Opera, New York City.
King: Salvatore Licitra
Amelia: Angela Brown
Ulrica: Stephanie Blythe
Renato: Dmitry Hvorostovsky
Oscar: Ofelia Sala
cond: Gianandrea Noseda
Dear Colleagues,
Another marvellous Ballo outing at the Met. I have seen this production several times as well as its classic video with Pavarotti, Millo and Nucci. This evening had a dream cast of Salvatore Licitra, Angela Brown, Stephanie Blythe and Dmitry Hvorostovsky. Also, the Oscar of Ofelia Sala was a fine performance.
As the king, Mr Licitra was almost eclipsed by the finesse of the baritone and lead soprano. Both baritone arias were sung with such intense conviction that at times in Eri tu Hvorostovsky seemed to move out of the aria itself, taking pauses and extensions which, while not written (and could not reasonably have been written), were perfectly attuned to the character of the piece. He also interpolated some notes from the traditional versions. The conductor seemed to take some of the main arias very slowly, to great advantage with such fine artists.
Remarkably Ms Brown did a similar thing with her Act 3 aria Morro ma prima ingrazia with some incredibly beautiful phrasing at the end. I only recall hearing this effect once before with Sherril Milnes as papa Germont also here at the Met almost 20 years ago in Di provenza (and taken to an extreme on film with Jose van Damm at the end of Cortigiani). Neither Pavarotti nor Sutherland ever did this, at least not for me. I think the singer has to get wholly within the characterisation before doing this … and obviously needs to be in complete control vocally.
Despite being almost midnight, the acclaim at the end of Ballo, was rapturous. The production is over-the-top and final ball scene unbelievably detailed, large, colourful and yet still sympathetic to the story. It even has a ‘play within’ and its own on-stage audience.
This performance was well above the usual standard seen here (or anywhere). Two members of the Australian Opera were also in the audience and they were also impressed by proceedings. We noted, however, some minor pitching errors of the tenor and some repeated timing problems with the conductor. His musicality may not be quite as refined as his colleagues yet Mr Licitra has a formidable and beautiful instrument and being able to ‘deliver’ as well as or better than many others in his field.
The day before, we were treated to an ‘open-house’ at the Met, incorporating a dress rehearsal of the Fille du Regiment (see my web site for full details). Already I have received responses about each item posted on some enthusiast opera list-servers. Some replies are not for the faint-hearted. But at least a lot of people read one’s messages and any obvious mistakes are pointed out, sometimes politely, otherwise tersely, allowing me to live and learn while also enjoying the opera. This is a form of cheap and quick ‘peer-review’. One learns to ignore the rudeness as being insecurity of people who often have nothing better to do than ‘kvetch’. Sharing ‘diary notes’ publicly is all a matter of timing … too early and they are incomplete or inaccurate … too late and nobody is interested!
Best wishes to all from Andrew Byrne ..
Opera blog: http://www.redfernclinic.com/opera/critique/blog/
Ballo in Maschera. Metropolitan Opera, New York City.
King: Salvatore Licitra
Amelia: Angela Brown
Ulrica: Stephanie Blythe
Renato: Dmitry Hvorostovsky
Oscar: Ofelia Sala
cond: Gianandrea Noseda
Dear Colleagues,
Another marvellous Ballo outing at the Met. I have seen this production several times as well as its classic video with Pavarotti, Millo and Nucci. This evening had a dream cast of Salvatore Licitra, Angela Brown, Stephanie Blythe and Dmitry Hvorostovsky. Also, the Oscar of Ofelia Sala was a fine performance.
As the king, Mr Licitra was almost eclipsed by the finesse of the baritone and lead soprano. Both baritone arias were sung with such intense conviction that at times in Eri tu Hvorostovsky seemed to move out of the aria itself, taking pauses and extensions which, while not written (and could not reasonably have been written), were perfectly attuned to the character of the piece. He also interpolated some notes from the traditional versions. The conductor seemed to take some of the main arias very slowly, to great advantage with such fine artists.
Remarkably Ms Brown did a similar thing with her Act 3 aria Morro ma prima ingrazia with some incredibly beautiful phrasing at the end. I only recall hearing this effect once before with Sherril Milnes as papa Germont also here at the Met almost 20 years ago in Di provenza (and taken to an extreme on film with Jose van Damm at the end of Cortigiani). Neither Pavarotti nor Sutherland ever did this, at least not for me. I think the singer has to get wholly within the characterisation before doing this … and obviously needs to be in complete control vocally.
Despite being almost midnight, the acclaim at the end of Ballo, was rapturous. The production is over-the-top and final ball scene unbelievably detailed, large, colourful and yet still sympathetic to the story. It even has a ‘play within’ and its own on-stage audience.
This performance was well above the usual standard seen here (or anywhere). Two members of the Australian Opera were also in the audience and they were also impressed by proceedings. We noted, however, some minor pitching errors of the tenor and some repeated timing problems with the conductor. His musicality may not be quite as refined as his colleagues yet Mr Licitra has a formidable and beautiful instrument and being able to ‘deliver’ as well as or better than many others in his field.
The day before, we were treated to an ‘open-house’ at the Met, incorporating a dress rehearsal of the Fille du Regiment (see my web site for full details). Already I have received responses about each item posted on some enthusiast opera list-servers. Some replies are not for the faint-hearted. But at least a lot of people read one’s messages and any obvious mistakes are pointed out, sometimes politely, otherwise tersely, allowing me to live and learn while also enjoying the opera. This is a form of cheap and quick ‘peer-review’. One learns to ignore the rudeness as being insecurity of people who often have nothing better to do than ‘kvetch’. Sharing ‘diary notes’ publicly is all a matter of timing … too early and they are incomplete or inaccurate … too late and nobody is interested!
Best wishes to all from Andrew Byrne ..
Opera blog: http://www.redfernclinic.com/opera/critique/blog/
Ernani - Verdi - Metropolitan Opera New York.
Thursday 10th April 2008 7.30pm.
Ernani - Marcello Giordani
Elvira - Sondra Radvanovsky
Don Carlo - Thomas Hampson
de Silva - Ferruccio Furlanetto
Conductor - Roberto Abbado
Dear Colleagues,
The Met web site calls this opera a ‘gem’ yet this is being kind. While it has some of the most magnificent arias and choruses, the story is a mish mash of not just unlikely but ludicrous events, underlined by the theme ‘a slave of duty’ like the Pirates of Penzance, but without the humour. Both hero (a bandit) and villain (a nobleman) are bound by such serious personal honour that they would die before allowing themselves even a minor transgression of “the gentleman’s code”. A suspicious suitor turns out to be the king incognito while a pilgrim who arrives at a wedding turns out to be a rival who nobody happens to recognise before allowing him into the castle for alms and refuge.
Two glorious scenes occur in the first 20 minutes and one wonders if there could be anything else (there is!). Ernani sings of his lost love and his henchmen sing of their devotion and willingness to fight to get her back. They are standing on and below a large curving stairway around what looks like an open-cut coal seam as their brigands’ hide-out. Next scene is Elvira’s ‘Surte e la notte’, ‘Ernani, Ernani involarmi’ and ‘Tutto sprezzo’. Sondra Radvanovsky sang superbly and took all the hard options. This takes place in a massive palace room where she is confined. Massive drapes on an unseen window are billowing in the breeze reminding us of the great outdoors she is longing for. She sings part of her scene sitting on a sofa on the right side and moves around the stage as her thoughts progress.
The tenor has a major challenge in Act 2. ‘Odi il voto o grande Iddio’ has elements of ‘Ah la paterna mano’ from Macbeth as well as hints at ‘Ah si ben mio’. Next Ernani launches into a chorus ending with a ‘Di quella pira’ style cabletta, ‘Sprezzo la vita, ne più m'alletta’ ending the act on a magnificent ‘high’ combining ‘vendetta’ and true love. Mr Giordani’s performance was exciting and accurate in the theatre.
This makes two choruses swearing allegiance to their leaders and it appears that the whole opera revolves around keeping one’s oath and observation gentleman’s accepted codes of conduct. Other more personal things such as self, family, king and country are all subordinate to the ‘codes’ espoused here. Even to the point of ‘honour suicide’ on demand on one’s wedding day.
Anyone in these roles now has the inevitable comparison with the Met DVD of this production (with Pavarotti, Milnes, Mitchell and Raimondi). In this, Milnes ends his Act 3 ‘Oh de verd’anni miei’ with an almost unbelievable, ringing high A flat, sustained for over 5 seconds, sending the audience wild.
Mr Hampson sang with conviction and confidence as King Carlos. In the act 3 aria’s conclusion he touched uneasily on a high G in an otherwise ringing and exciting performance, finishing (correctly) on the lower A flat.
Ferrucio Furlanetto was excellent as the nobleman de Silva. His voice is warm and secure. He received a large ovation, as did all the other singers and conductor.
The finale sees the happiest scene turn ugly with the newly married Ernani hearing the horn-call of de Silva on whose sound he had promised to commit suicide ‘on that day’. He bids farewell to Elvira and stabs himself after which da Silva uses the same dagger to slash the bride’s throat giving us an extra corpse for the final curtain. This was not done in the original production and seems like a gratuitous excess to me. In a concert version of this final trio done by Sutherland and Pavarotti the bass-baritone role was played by Marilyn Horne, proving her versatility. It was splendid, unlike the full recording which was under-par in some respects, especially Sutherland’s worrying wobble by that time in her glorious career.
Comments by Andrew Byrne ..
